Read more
Written by award-winning author Timothy Corrigan,
Describing Cinema is an argument for the creative energies of writing in general and for the revelatory intersection of personal experience and film analysis.
Describing Cinema demonstrates the pleasures and energies of precise discussions and detailed writing about the films that move us.
List of contents
- Preface
- Part I: In Other Words: Film and the Spider Web of Description
- Part II: “Badly Said, Badly Seen”: Describing . . .
- 1.Dis-chord: Meet Me in St. Louis (Vincente Minnelli, 1944)
- 2. The Pedestrian: The Bicycle Thieves (Vittorio De Sica, 1948)
- 3. Vacancy: Throne of Blood (Akira Kurosawa, 1957)
- 4. Ghosting: Pyassa (Guru Dutt, 1957)
- 5. Exposures: Contempt (Jean-Luc Godard, 1963)
- 6. Immobility: The Conformist (Bernardo Bertolucci, 1970)
- 7. Red: Don't Look Now (Nicolas Roeg, 1973)
- 8. Folds: The Marriage of Maria Braun (R.W. Fassbinder,1978)
- 9. Discretion: Sunless (Chris Marker, 1983)
- 10. Emplacements: Do the Right Thing (Spike Lee, 1989)
- 11. Noise: The Piano (Jane Campion, 1993)
- 12. Interiors: A Taste of Cherry (Abbas Kiarostami, 1997)
- 13. Correspondence: Central Station (Walter Salles, 1998)
- 14. Anticipation: In the Mood for Love (Wong Kar-wai, 2000)
- 15. Gaming: The Bourne Ultimatum (Paul Greengrass, 2007)
- 16. The Tactile: Adam (Maryam Touzani, 2019)
About the author
Timothy Corrigan is Professor Emeritus of English and Cinema Studies at the University of Pennsylvania. His past publications include New German Film: The Displaced Image, A Cinema without Walls: Movies and Culture after Vietnam, and The Essay Film: From Montaigne, After Marker, winner of the 2012 Katherine Singer Kovács Award for the outstanding book in film and media studies.
Summary
Written by award-winning author Timothy Corrigan, Describing Cinema is an argument for the creative energies of writing in general and for the revelatory intersection of personal experience and film analysis. Describing Cinema demonstrates the pleasures and energies of precise discussions and detailed writing about the films that move us.
Additional text
"In Describing Cinema, Timothy Corrigan argues that description is generative, a creative act that lays the groundwork for ensuing interpretations, explanations, and even memories of a work of art. This book provides a much needed and robust account of this central aesthetic concept, as well as a series of teachable chapters illustrating the extraordinary effects of the language we use to describe what we encounter on the screen before us."
